Papa Smurf on Eight Mile

Here's a video I came across on fark.com of the Smurfs singing Eminem in German. Total coincidence that I found it. I think these guys are up there with "The Hoff" in terms of German star power. This is so bizarre. Figured y'all might need a little humor.



Also, check out chuckandkyser.blogspot.com for the funniest video I have seen in quite some time.

Other stuff is in the oven.

Bodi Bill from Berlin

Well, dang. I done it again. I've left you with nothing for over a week. Musical searches in Münich were in vain. Like Tillery said, it's like something really awesome is hiding. Even here in Berlin, the arts hotbed that I kept hearing about wasn't showing its face. However, I'm starting to see it more and more, and good news for y'all, it includes some good tunes, too. I've also found a good working hub here. So worry not. We'll have some goodness this week and hopefully I can finally get those pesky reviews up. I've also been thinking about a report on busking and the multiple types of the art we've encountered during this adventure. So marinate on that. And oh yeah, we saw Air last night. And we have mad footage. As my high school advisor used to say, "There's a lot on the skillet."

But right now I want to tell you about Bodi Bill, an electro-folk duo consisting of Alex Amoon and Fabian Fenk. According to 030, a weekly guide to the Berlin scene, these fellas get down on a Mac book and some stringed instruments. After checking out their myspace page, I'll say that it's working. "Nothing" is like the Knife and Hot Chip having remix battles with a neo-soul track. On the other hand, "Willem", an anxious love ditty, is more traditional, flipping between choppy, maraca-backed piano and spooky(at times), soaring keyboards. Neat. Listen for yourself and tell me what you think. Also, if you like it, check out their debut, No More Wars, on Amazon.

Also, take a gander at this video of their somber number, "Very Small". Another indication of this band's diverse sound.

Olli Kahn, "The Hoff"= German Superstars

Well hey there everybody. For the past week, you've probably wondered, "Where in the hayell is Jay right now?" Or better, "When is he gonna post those reviews?" Or maybe you haven't cared one bit, and like my brother, Shelton, you spent the weekend driving one of these badboys.



Regardless, I've got some answers for you. And videos. And a review. And I know these things are coming in slower than a granny on her rascal, but I'm in Europe. There is a lot of stuff to see and do here. Plus, these internet cafes aren't the greatest places in the world. (Even though this beautiful German woman sitting next to me is making things more interesting.)

Yeah, so we're in Münich right now. We went to see Bayern München take on Werder Bremen last night at Allianz Arena, which looked liked this:



It was a 1-1 draw. But it was total madness.

So you might be saying, "This is music blog, not a soccer blog." Yeah, you are right. Well, during warmups last night I was overwhelmed by quite an interesting tune by the German pop group, Die Prinzen. The song is called "Olli Kahn," and is obviously a tribute to the famous German goalkeeper. Get this; Kahn and his back-up are the only two players on the field, and this song is blaring over the loudspeakers, while nearly 85,000 crazed Germans sing along. Talk about an ego trip. Think if every single person in the United Center sang " Like Mike" while Jordan warmed up. That's still only 21,000 people. Quite a bizzare experience to see one individual so idolized. Hit me up if you know of any other athlete tributes.

Oh, and no post on Germany can exist without mentioning another German superstar. David "The Hoff" Hasselhoff Here is a video of his song, "Jump in My Car."



I'm sorry. I just couldn't resist.

And last week's playlist is encompassed by this video of Daft Punk's "Around the World." Some of you have already seen it, but who cares. It's about the best damn thing out there.



We're hoping we can find some tunes that cool while were in Münich. Here's to that.

Junior Boys: Where Was My Mind?

Here's some advice I wish I had remembered before the Junior Boys show last Sunday.

BEFORE MAKING PLANS ON THE DAY OF THE SHOW, CALL THE VENUE TO CHECK THE SET TIMES.

You see, the ticket listed Russian Futurists as the opener for Junior Boys, an electronica-loving pop duo from Ontario. So, considering we had so much to do that afternoon before we left for London the next day, we planned on getting to the show 90 minutes after doors--just in time for the JB set. As we walked in, I could hear the synth-pop sounds of So This Is Goodbye's "In the Morning" seeping from the 2nd floor stage. Either they were starting off with a bang, I thought, or we had totally egged. Consider it eggs benedict.

Once we got up the stairs, I began questioning the Junior Boys merch salesman.

"How long have they been playing?"
"For an hour."
"What 'bout Russian Futurists?" I whined, bewildered and somewhat agitated.
"Russian Futurists aren't playing tonight."

My heart sank. We had missed basically the entire show. Luckily, Jeremy Greenspan and Matthew Didemus came back out for one helluva encore performance of STIG's "The Equalizer," and Last Exit's "Under the Sun," providing us with a taste of what JB has to offer live.

Yeah, so next time I will make better plans. This video says a lot about how I felt following my enormous blunder.

The Greatest British Pop Song Ever Written

Seeing as how I've been in London for the past week, it baffles me that I haven't posted a video of the greatest British pop song ever written. Most of you have probably seen it (and heard it), but here's Ricky Gervais aka "David Brent" with "Free Love Freeway."



And yes, that is Noel Gallagher on lead guitar.

P.S. Those reviews are on the way. For serial.

Neon Monday

We woke up early this morning to avoid any maid confrontations--we weren't supposed to stay at the ISH last night, but were safe now until Thursday--and went to The National Gallery to check out "Manet to Picasso," a breathtaking collection of Impressionists. On the way back to George's place, we stopped and picked up a copy of Neon Bible, The Arcade Fire's new release and the current indie good book. It dropped here on Saturday, suckas. I hadn't really heard much of it up to this point, but after listening to it a little bit, I'll say it sounds nice, Clark. Real nice. Expect a review later. (I know, I've said that for the EITS show and for the TBK/TBA double affair and you've received nothing. I promise they will be up soon. It's a tricky net situation here. Plus, wouldn't you be worried about me if I sat in front of my computer all day and didn't see the sights of London?) Also, The Avett Brothers’ show on Saturday night...oh buddy, was it wild! That one's on the way as well.

That's it for now. We're off to The British Museum. Cheers.

Actually, sit back down. Watch our video of "I Killed Sally's Lover." It'll whet your palate for the Avett review. I'm not the greatest photographer, but this should illustrate the band's electric delivery. Also, I apologize for the hand in front of the screen. It's from some girl that I shushed earlier in the night for talking during a slow song. The nerve.

2007: A Space Odyssey

Like I mentioned a few days ago, my buddy Bradley Pitts is a rocket scientist turned artist residing in Amsterdam. He's been working on some rad projects. In addition to exploring the concept of vision, he's combed everyday life for moments when we're weightless. . Here's the video of the latter venture. Check it out and spread the word! (He's also working on a bid to get to space and bring back more amazing interpretations of the void.)


And you thought Wayne Coyne was thinking outside of the box.

Here's his website.
www.bradleypitts.info

You can also check out more of his vids here.

This Week's Playlist

As you know, we've been hanging around London all week. We are adding a few songs that got us through our stay in Amsterdam, but most of 'em are from our time here in Foggytown.

Panda Bear--"Comfy in Nautica"--Person Pitch--Paw Tracks

For the past few months, Noah Lennox has been the rage of the blogosphere. So, I know we're late, but this song might just have the best message out there right now.

"Coolness is having courage/Courage to do what's right/ Try to remember always/Just to have a good time."

Plus he went to Camp Mondamin in Tuxedo, NC--an automatic indicator of his badassity.

Dark Meat--"Freedom Ritual"--Universal Indians--Orange Twin

"Oh, I just can't get you out of my head."

Explosions in the Sky--"Welcome, Death"--All of A Sudden, I Miss Everyone--Bella Union

They played this new track on Sunday night and I think everybody in the joint rocked goosebumps.

Babyshambles--"The Man Who Came to Stay (B-Side)"--Down in Albion (Deluxe Edition)--Rough Trade

Pete Doherty got caught trying to smuggle a spoon into the bathroom last night at the NME Awards. Come on, buddy. The rolling garage rock of this one has been propelling us for a good bit, and it's fitting that it's becoming our song in London.

Annuals--"Complete or Completing"--Be He Me--Ace Fu

I know we had a song from Annuals last week, but the tripped-out, wild west waltz of "Complete or Completing" is about as catchy as it gets.

The Avett Brothers--"Matrimony"--Four Thieves Gone: The Robbinsville Sessions--Ramseur Records

If somebody can find another song like this out there, I'll give 'em a dollar. Did I mention I'm excited we're seeing this band tomorrow night?

The Black Keys--"You're The One"--Magic Potion--Nonesuch

They played this somber blues tune both nights we saw 'em at Shepherd's Bush. I don't think I'll forget it.

120 Days--"Come Out Come Down"--120 Days--Vice

You already know what I think of this one.

The Hold Steady--"Stuck Between Stations"--Boys and Girls in America--Vagrant

This Springsteen-friendly bar rock is just plain awesome. Can I get a hell yes?

Kings of Leon--"On Call"--Because of the Times--RCA

You've probably already heard it, but here's the single from KOL's upcoming record. The disc is set to drop on April 2nd in the UK and the 3rd in the States. This song says a lot about how big it's gonna sound.

Flosstradamus--"Overnight Star"--Unreleased

We were hoping to catch this fantastic duo opening for DJ Atrak and Kid Sister in Sheffield tonight, but our plans fell through. This song might be an oldie but it'll always be a goodie.

That's it for now. As always, if you like 'em, go get 'em out at your local record store. Look back for those reviews and have a nice weekend. Hope it isn't raining wherever you might be.

Teasers, Tunes, and "Talk On Indolence"

A further note about the Decemberists review: we have videos. We are trying to get them uploaded. Hopefully it will happen today. I haven't really commented on the Black Keys/Black Angels affair. I don't want to spoil the review, but I will say that it was a tremendous show--a true blast from the past. Here is a teaser video from TBK's second night for y'all to check out.



Also, we haven't forgetten the JBoys and EITS reviews, though the JB story will be a tad short. You'll understand. We'll have those up and we'll also have another weekly playlist. Although, considering we didn't post one last week, it's looking more bi-weekly.

Oh, and here's another video from the Avett Brothers. This one's called "Talk On Indolence." It's from their 2006 release, Four Thieves Gone: The Robbinsville Sessions. We actually see them tomorrow night--not on Sunday. I couldn't be more excited.



Dang.

"Hear All the Bombs Fade Away."

When most people hear Amsterdam, they immediately think of smoke-filled coffeeshops where the coffee plays second fiddle and glowing red alleyways burgeoning with scantily clad seductresses and packs of horny men looking for 15 minutes of fun. There are much better things to do in Amsterdam, and the Decemberists reminded us last Wednesday that seeing live music at Paradiso is probably the best. For those of you that don't know The Decemberists, they are a spirited, Portland, Oregon-based quintet with a knack for eloquent storytelling and Irish-tinged folk rock. Their recent 2006 release, The Crane Wife, has received high acclaim. As for Paradiso, like a lot of music houses in the States, the venue is a restored church. However, with its two-tiered, ornate balconies, large bar, and grand, red velvet curtain-backed stage, the place seems more like a Tombstone era theater than an old house of worship.

The first thing one notices when going to a concert in the Netherlands is that the Dutch are really tall. In fact, my friend Brad informs me that they are the tallest population in the world. After constantly having to steal glances of the stage between clusters of human towers during opener Lavender Diamond and the first few songs of the Decemberists, I can't disagree. Eventually it was decided that best vantage point would be found up high. But despite the viewing issues, the crowd at Paradiso was the best I've encountered thus far. A solid mix of young and old, American Apparel hipster and Doc Marten wearing Joe, the audience was attentive and respectful all night. In addition, there were very few of the recently experienced boorish inebriates that enjoy shoving their way to the bar and loudly slurring ill-timed lyrics in your ear. Always a plus.

It was definitely a positive that the crowd was up for a good time, because The Decemberists love nothing better than getting the fans involved. After a so-so set of folk-pop from Lavender Diamond, tarnished by lead singer Becky Stark's penchant for over the top, flower child stage antics, the Decemberists got things rolling with Picaresque's drum-laded "Infanta." After "rocking [his] laces untied" during Castaways and Cutouts' "California One/ Youth and Beauty Brigade," lead singer Colin Meloy led the band through an unusual jazz jam into Picaresgue's rollicking tale of paths crossed, "We Both Go Down Together." Later, following a blues breakdown spearheaded by lead guitarist Chris Funk--also known for his guitar battle with staunch conservative Stephen Colbert--the five-piece performed Her Majesty, The Queen's "Billy Liar." Throughout this opening run, Meloy was chatty with the crowd, even imploring us to "tear the doors from the hinges" of the AMS Museum Hotel. Maybe there wasn't a mint on the pillow.

Despite the band's brilliant display thus far, Paradiso still buzzed with anticipation. Everyone who knows the Decemberists' live affairs knows they love their standard mid set calisthenics. As Meloy told the crowd after an enthralling performance of The Crane Wife's "Yankee Bayonet (I Will Be Home Then)"--beautiful multi-instrumentalist Lisa Molinaro joined the front man for a glowing rendition of the romantic duet--the band "wants to spread health and fitness." So that's exactly what they did, jovially prodding the crowd to "crouch down and feel the burn," because even though the bike is the preferred mode of travel in the Dam, the Decemberists weren't fooled. "We've seen your hills," Meloy quipped.

This was only the tip of the crowd interaction iceberg. After ordering up a shot of whiskey for drummer John Moen, and feeding the audience energy with a rousing performance of Crane Wife hit "Oh, Valencia," Meloy and company broke into Picaresque's blues-inflected rocker, "16 Military Wives"--a song chock full of political commentary. For the last refrain of the "la de da" chorus, Meloy split the crowd in two for a singing competition. "Competition," he stated, "Is everywhere today. There's competition between religion. Between Citizens. Between Politicians. We're here to spread the good word." With that, he led sections of the crowd against one another, with the nonsensical lyrics representing the pointless basis of conflict in the World today. Then,following the always chilling "The Crane Wife #3," Meloy and co. utilized their music once more in a political fashion, urging the crowd to join for the final chorus of The Crane Wife's "Sons and Daughters." The audience did exactly that, filling the music hall with the uplifting cry of "Hear all the bombs fade away," a glimpse of hope in today's war-ridden state of affairs.

The crowd wasn't finished yet. After Colin Meloy delivered a chilling, slowed-down rendetion of "Red, Right Ankle" for the first song of the band's encore, the Decemberists pulled another rabbit out of the hat for the act's closer, Castways and Cutout 's "A Cautionary Song." As Meloy and accordionist Jenny Conlee began the song onstage, the rest of the group entered through the back doors of the venue and made their way towards the middle of the crowd, all playing percussion along the way. Once there, Meloy illustrated his love for history, directing a re-enactment of the Dutch naval victory at Chatham Harbor in 1667. Surrounded by a chain of British warships--audience members led by John Loen--the Dutch ships, led by Dutch Admiral Chris Funk, broke through the barrier and defeated the British fleet. With that, Paradiso erupted. Like the night's performance, it was a victory for all.

NME Awards Concert Series Cajun Dance Party, 120 Days, The Hold Steady, Kings of Leon

Because of the late admission to Monday night's NME Awards Concert Series, I didn't bring my camera along. Thus, there will be no multimedia with this review. Sorry. Luckily, I brought my trusty pen and paper, so worry not.

Despite some stellar performances, the viewing experience at the Astoria was one of the worst I can remember. Due to the evening's headliner, everybody was trying to get in. Scalpers were selling tickets for 4 times the list price. By the time the Hold Steady rolled around, the Carling had been flowing for almost 2.5 hours and the near capacity venue was heating up. Once KOL came on, not only were you lucky not to get pushed every time somebody left for the bathroom or the bar, you were also serenaded with drunken sing-alongs you didn't pay to hear (in your ear).

But one can't let the viewing experience affect the perception of the music, which on Monday night, was mostly terrific. North London's Cajun Dance Party got things started in front of a minimal crowd. Despite good energy and a commendable performance from their nearly epileptic front man, Daniel Blumberg, the baby-faced band's indie pop was too run of the mill to leave a lasting impression.

120 Days were quite the surprise. The Norweigian foursome's krautrock infused post-punk invoked thoughts of bands ranging from New Order to Kraftwerk to Pink Floyd to Jane's Addiction. At times the sound beamed from Saturn and at other times it drifted from the basement of a grungy punk venue. However, throughout the six song set, the music rollicked along like a motorcyclist on a midnight autobahn ride, and by the time they arrived at act closer "Come Out, Come Down," from their self-titled debut, the growing crowd was grooving along on the back tire.

Who knows what the crowd already knew about The Hold Steady, a Brooklyn via Minneapolis quintet that enjoys slugging it 70's bar rock style. There were some band tees here and there, most notably one that read, "The Hold Steady Almost Killed Me." Playing their last show of their European tour, bearded Craig Finn and company came out and proceeded to blow the doors off with "Stuck Between Stations," "Chips Ahoy," and "Hot Soft Light" all from their heralded 2006 release, Boys and Girls in America. From the opening note, it was immediately apparent that this is a band that loves nothing more than getting onstage. It's less like they are playing a concert and more like they are an assembled crew of extremely vivacious and musically talented best friends playing music for a badass party, with the endearingly erratic Finn telling stories and egging everyone on. For instance, during "Hot Soft Light," he instigated a friendly duel between lead guitarist Tad Kubler and keyboardist Franz Nicolay, constantly swaying his allegiances in order to draw more from each musician. And the band didn't slow down after their blistering start, churning out more sweltering numbers from their recent drop such as the Pabst chugging anthem, "Massive Nights," the enormous vote of confidence, "You Can Make Him Like You," and the quick-witted narration of adolescent mischief, "Stevie Nicks" from 2005's Seperation Sunday. And as The Hold Steady--slapped with grins from ear to ear--closed their set with SS's "Your Little Hoodrat Friend" and the magnificent "Southtown Girls," those newly initiated crowd members looked around at their friends and shook their heads in approval.

Things started getting a little hairy in between the end of THS and the beginning of the Kings of Leon's set. After the Brooklyn band's liquid friendly performance, the audience was really lubed up--most of it chanting "LEE-ON!" Much to the chagrin of some more peaceful onlookers, burly Brits were having no qualms about shoving their way towards the stage. And when the lights dropped and the band's ghastly orchestral intro music came over the loudspeakers, the Astoria foamed at the mouth. As with The Hold Steady, there were immediate revelations with KOL's start. It appears that tours with U2 and Pearl Jam have made an impression, as the quartet came flying out of the gates with a new, heavy-riffed opener, they illustrated that their garage days are gone, and that Because of the Times is going to sound really big. Not only that, but the band's playing has really progressed. On "Taper Jean Girl" and "King of the Rodeo," both from 2005's Aha Shake Heartbreak, lead guitarist Matthew Followill's measly solos of old were replaced by more complex and hard rocking finger work. And contrary to past shows, when it often looked as if they were only playing as much as their talents allowed, lead singer and rhythm guitarist Caleb--donning a sleeveless jean jacket--and his younger brother, bassist Jared, were totally in control of their respective instruments. Meanwhile, older brother Nathan slapped the skins in perfect rhythm while coolly blowing bubbles with his chewing gum. By the time they got to Youth, Young, and Manhood's "Molly's Chamber," with the brilliant lights swirling and the heavy riffs ringing strong and clear, Kings of Leon appeared like a band destined for arena stardom. However, unlike the fun-loving Hold Steady, KOL looked more like they were at work on songs like Heartbreak's "4 Kicks" and Manhood's "California Waiting" and "Spiral Staircase," during all of which Caleb, whose lyrics were muffled by the crowd singing along to every word, screamed backstage for more mic like a focused professional. And like their recent single, “On Call,” these new songs are interesting and diverse. Some are much heavier, some are more spaced out, and one in particular, a big, back porch blues shuffle, is the most Southern tune the band has written to date. All are huge. And when the night came to the end with Heartbreak’s “Slow Night, So Long”--the crowd in total chaos--one could tell that this band is going to be, too.

What's Beef?

The Kaiser Chiefs and the Arctic Monkeys need to shut up. Tonight, London hosts the NME Awards Show and the only thing people are talking about is the possibility of a hostile exchange between the two aforementioned British bands. That's because they've been talking a bunch of baloney about one another. It started with Alex Turner, head ape for the Monkeys, stating that if the comparisons to the Kaiser Chiefs--their recent release, Yours Truly, Angry Mob, continues to tear up the British charts-- keep up when they release their upcoming album, Brianstorm, AM will quit making music. That's a load of rubbish. So then, rather than smartly saying, " We don't waste time talking sh*t about another band, because it's lame," which it is, Kaiser Chiefs keyboardist Nick Baines replied through Gigwise with the following:

"We're an easy target because nobody ever slags off a small band. It'd be better if they were writing better songs than us, but they're not, so they can shut up."

And as if that wasn't enough, he topped it off with this:

"It's not as if I'm hurt or lying awake at night or anything. We'll get on with what we're doing and you get back to packing shelves in supermarkets again."

If it doesn't matter, then don't say anything. Maybe they'll get in a fist fight tonight at the NME Awards. That would be really tough, huh? I don't even know why I'm posting about this. After all, Notorious has already spoken the truth about "beef." Don't remember. Here's a refresher.

Warning: This video contains explicit lyrics.



*Picture taken from www.thisislondon.com.uk

Forget the Big Bunch of ISH with Some Help from "Dr. Stringz"

I feel like Dunston from Dunston Checks In. We're staying at the International Student House in London right now, and apparently you have to pay to stay in your friend's room--our chap is the always gregarious George "Papa" Paschal. We paid the first night, and after some monkey business last night, we were roused from our beds by a Paul Reubens lookalike named "Nacho" who told us that we had to pay again or get out. He was informed of our presence by the psychotic maids that have nothing better to do than rat on people. They get paid to make the beds and take out the trash. Give me a break. So after jumping through flaming hula hoops and slaying the dragon of the Thames, we're back inside. Only problem is, most of the review material is on a computer locked in George's room. This is why I am currently quite perturbed. Oh, the trials and tribulations of a journalistic vagabond. So the Decemberists and EITS reviews are on hold, but I've got news and I've got the scoop from Monday night's NME showcase. But first, forget about the crud with this video from the master of stringed instruments and melodic whistling, Andrew Bird. Here he plays "Dr. Stringz" on "Jacks Big Music Show," a kids program for the Noggin Channel. It's great lighthearted amusement for the young at heart. We're trying to get to Bernacassim, Spain to see Bird in March. Probably gonna be a request for "Dr. Stringz."



You "keep that string music coming," Dr. Bird. It keeps me happy.